Speaking of e-bows, I was surprised to see The Edge (from U2) using an e-bow on the Live in Paris video from 1987 on I think it was "The Unforgettable Fire". I didn't know the e-bow had been used that much for that long. - Jesse

Anyway, the point is it doesn't take talent or a lot of money, just a lot of reverb. Take me for example... I just alike all the blinky lights and pretend I'm Cap'n Kirk half the time.

Uh-uh, Jesse,

No WAY are you going to get away with insinuating that you have no talent! You are one of my very favorite ambient musicians EVER, & I think that your music is WON-DER-FUL! (Besides, it takes a HUGE amount of talent to make all those blinky lights & reverb sounds work for ya')!

Anyway, the point is it doesn't take talent or a lot of money, just a lot of reverb. Take me for example... I just alike all the blinky lights and pretend I'm Cap'n Kirk half the time.

Uh-uh, Jesse,

No WAY are you going to get away with insinuating that you have no talent! You are one of my very favorite ambient musicians EVER, & I think that your music is WON-DER-FUL! (Besides, it takes a HUGE amount of talent to make all those blinky lights & reverb sounds work for ya')!

The Gizmotron was the creation of Lol Creme and Kevin Godley from the 70s art band, 10cc. After they split from 10cc, they did a pretty wild 3 LP project called "Consequences," that was supposed to spotlight the Gizmo, but ended up blowing a huge budget in the process. It's an entertaining album if you don't mind dialogue (Peter Cook does the voices), and even has Sarah Vaughn guesting on one track, "Lost Weekend."

I think the Gizmo is a little different from the ebow, in that there is more physical contact with the strings, but I never got to try one out.

The Gizmotron was the creation of Lol Creme and Kevin Godley from the 70s art band, 10cc. After they split from 10cc, they did a pretty wild 3 LP project called "Consequences," that was supposed to spotlight the Gizmo, but ended up blowing a huge budget in the process. It's an entertaining album if you don't mind dialogue (Peter Cook does the voices), and even has Sarah Vaughn guesting on one track, "Lost Weekend."

Yes I have that album, I found the first side of the first disc to be interesting but after that not so much. My guess is they blew their budget making the first 20 minutes and then made the rest of the album with the money they had left.

I think the Gizmo is a little different from the ebow, in that there is more physical contact with the strings, but I never got to try one out.

Its different in that it uses spinning balls of rosin to make the string vibrate but its trying to do the same thing as the ebow. It had one big disadvantage in that its has to be attached to the guitar to be used, unlike the ebow.

Bode frequency shifter, now that is nice. The Moog modular I learned synthesis on had one of those. So how big a modular system do you have? I use to own a model 15 but I sold it about 14 years ago. It paid for two months of fieldwork in Bali that year.

Bode frequency shifter, now that is nice. The Moog modular I learned synthesis on had one of those. So how big a modular system do you have? I use to own a model 15 but I sold it about 14 years ago. It paid for two months of fieldwork in Bali that year.

Bali, even nicer. My system is just a modified model 15 with some additional Moog modules: the Bode FS, envelope follower, the dual trigger delay and a high pass & coupler (which I've rebuilt into one module) plus some Aries modules: dual LFO, VC phaser, S/H & noise plus some PAIA modules: 2 ADSRs, VCA, ring mod (surprisingly good),sequencer and a wizz-bang digital noise module I built from a Polyphony or Craig Anderton article long ago.It gets much less use these days, but can also be handy as an audio tool box of bits for other gear.The 921 osc. is an amazing slow LFO to patch here and there, as you'll probably remember.